How to dance the national standard ballroom dance--different requirements of male and female dance partners and the cultivation of leading and following dance awareness

The different requirements of male and female dance partners and the cultivation of the awareness of leading and following the dance in modern dance, the male partner should always be in a dominant position. This is determined by the structure of social dance and its human kinesiology. Therefore, beginners should never learn female steps from men or male steps from women. Because of the different requirements of male and female dance partners, will inevitably cause the sensory system and the nerve conduction system of the "power stereotype" effect, and the direction of development between men and women is exactly the opposite, this issue must attract enough attention. The lead dance of the male partner. Leading is both a requirement and a technical skill. In the sense of the requirement, leading the dance is leading the female partner. Whether it is the choice of dance structure, movement orientation changes, or dance style show, the male partner must be rapid, decisive, active and accurate under the premise of the female partner to suggest and guide. This is a prerequisite for tacit cooperation, but also a determining factor for beautiful coordination. If the male partner to a kind of no main, hesitant to wait and see, or slow to react to the state to deal with the female partner, then will inevitably produce some undesirable consequences. Suffer through this kind of nuisance of the lady, I am afraid that no longer want to dance with you ****. The female partner's follow the dance. Follow the dance, is to follow the male partner dancing. What dance steps, to what direction of movement, rotation or not rotate, are to "actively obey" the male partner's guidance and hints. Never go against your male partner. Therefore, the female partner should try to cultivate and exercise her own adaptability and resilience. To the male partner's hints and guidance, to be agile to make appropriate and accurate response, and go with the flow, very easy to adapt to cooperate. Do not take the initiative to guide or change the dance steps, and can not rely on their own subjective conjecture to guess the development and change of the dance steps, not to mention attempting to "correct" the male partner's dance steps or dance program. In this sense, the best female partner is the one who can follow her male partner. In this sense, the best female partner is the one who can follow her male partner and make the same mistakes. Therefore, the key to dancing with a male partner is "active obedience". From the subtle micro-sense, the female partner should be in a slightly slower, "standby movement" state than the male partner, as long as the tempo allows. Never try to "take the lead". Lead and follow awareness is actually a kind of higher nervous activity that should be consciously exercised and cultivated. This will not only make the running of the dance steps produce a "synergy" effect, appearing more delicate and harmonious, so that people can get the enjoyment of beauty; but also for both men and women, the accumulation of character consciousness, a subtle influence on the cultivation of sex; and even on the exercise of intelligence is also a great benefit. Closely related to leading and following the dance is the method of information transfer. The transmission of information varies from level to level depending on the method of holding. In a non-standard grip, only primary means of information transfer can be used. The primary means is to use both hands: the male partner relaxes his right hand and pushes forward with his left hand, which means that the man advances and the woman retreats; pulling back with both hands at the same time means that the man retreats and the woman advances; the right hand fingertip presses back and pulls back with the left hand The right hand fingertip pressure plus the left hand pulling back - means turn to the left; the right hand palm heel force plus the left hand pushing forward - means turn to the right. When in a state where the standard grip is not at home, i.e., a posture where the upper limbs are in the exact position but the body is slightly divided, an intermediate means of transferring the message can be used, i.e., instead of using both hands, the message can be transferred by making full use of the contact between the right shoulder of the male partner and the left arm of the female partner. Since this means of transmission has begun to move to the level of using the body, the push-pull movement of the male partner's left hand can then be moved towards a relatively fixed holistic approach. This is accomplished by pushing the entire upper body forward - male in and female out; pulling the entire upper body back - male in and female out; and holistic left side turn - turning to the left, provided the overall position remains the same; Integral right side turn - turn to the right. As can be seen, the localized movement of the right hand has begun to be abolished, and the force exerted at shoulder time, has begun to dominate. There is so much stretch in the way intermediate information is delivered that good partners can even begin to use sideways and tilting techniques; whereas those who are only passable will find it difficult to avoid localized changes at shoulder time (e.g., a forward thrust or shrug of the right shoulder), as well as pitching changes in the upper body. Implementing a full standard grip allows for the use of advanced messaging. Advanced messaging is a whole-body network. For example, in forward movements, in addition to the overall forward thrust of the hand at the shoulder, the contact area below the diaphragm plays an important role. The contact of the thigh surface of the moving leg transmits the information about the size of the force and the starting and stopping time so that the step length of both sides of the movement can be unified; the contact of the waist and abdomen enables the accurate and timely transmission of information about the lifting and lowering amplitude of the movement, the starting and stopping time, as well as the amplitude of the side and tilting and the starting and stopping time, and even the speed, rhythm, and the timing of the transfer of the center of gravity of the movement. What's more, this kind of transmission, no longer a one-way type of hint and guidance, has changed into a feedback type of two-way transmission, so that both sides of the **** dance can be from the transmission and feedback, to test and correct their own mistakes, or even the very slightest mistakes. In short, this is a very practical problem, must be repeated in the process of practice, in order to experience and gain.